Article Per Year (5 Year)
p-Index From 2021 - 2026
10.507
P-Index
This Author published in this journals
All Journal Jurnal Sendratasik Humanus: Jurnal ilmiah Ilmu-ilmu Humaniora Gorga : Jurnal Seni Rupa Harmonia: Journal of Research and Education Al Ishlah Jurnal Pendidikan Panggung Gondang: Jurnal Seni dan Budaya Dance and Theatre Review: Jurnal Tari, Teater, dan Wayang Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni JURNAL PENDIDIKAN TAMBUSAI Journal on Education International Journal of Educational Dynamics (IJEDS) Ensiklopedia of Journal Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni International Conference on Languages and Arts Abdi: Jurnal Pengabdian dan Pemberdayaan Masyarakat Jurnal Pendidikan dan Kebudayaan Suluah Bendang: Jurnal Ilmiah Pengabdian Kepada Masyarakat Science and Environmental Journals for Postgraduate Jurnal Manajemen Pendidikan dan Ilmu Sosial (JMPIS) Jurnal Ilmiah Wahana Pendidikan Jurnal Kata : Penelitian tentang ilmu bahasa dan sastra YASIN: Jurnal Pendidikan dan Sosial Budaya Jurnal Ilmu Multidisplin Proceeding International Conference on Malay Identity Populer: Jurnal Penelitian Mahasiswa Langgam International Journal of Social Science Education, Art and Culture Journal of Creative Student Research Jurnal Indonesia Sosial Sains Student Scientific Creativity Journal Jurnal Bintang Pendidikan Indonesia Ranah Research : Journal of Multidisciplinary Research and Development Jurnal Kajian dan Penelitian Umum Avant-garde: Jurnal Ilmiah Pendidikan Seni Pertunjukan Seniman: Jurnal Publikasi Desain Komunikasi Visual Cendikia: Jurnal Pendidikan dan Pengajaran Atmosfer: Jurnal Pendidikan, Bahasa, Sastra, Seni, Budaya, Dan Sosial Humaniora Law and Economics Dharma Acariya Nusantara: Jurnal Pendidikan, Bahasa dan Budaya Filosofi: Publikasi Ilmu Komunikasi, Desain, Seni Budaya Jurnal Intelek Dan Cendikiawan Nusantara Jurnal Intelek Insan Cendikia Misterius: Publikasi Ilmu Seni dan Desain Komunikasi Visual Realisasi: Ilmu Pendidikan, Seni Rupa dan Desain Abstrak: Jurnal Kajian Ilmu Seni, Media dan Desain Imajinasi: Jurnal Ilmu Pengetahuan, Seni, dan Teknologi Panggung International Martial Arts and Culture Journal.
Indrayuda Indrayuda
Universitas Negeri Padang
Religion Agriculture, Biological Sciences & Forestry Arts Humanities Astronomy Biochemistry, Genetics & Molecular Biology Chemical Engineering, Chemistry & Bioengineering Chemistry Civil Engineering, Building, Construction & Architecture Computer Science & IT Decision Sciences, Operations Research & Management Earth & Planetary Sciences Economics, Econometrics & Finance Education Energy Engineering Environmental Science Health Professions Immunology & microbiology Industrial & Manufacturing Engineering Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Library & Information Science Materials Science & Nanotechnology Mathematics Medicine & Pharmacology Neuroscience Physics Public Health Social Sciences Transportation Other

Published : 170 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 170 Documents
Search

 12   13   14   15   16 
Kajian Penyebaran dan Marginalisasi Tari Gandang Lasuang Raudhatul Fadillah; Indrayuda Indrayuda
Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi Vol. 1 No. 2 (2024): Juni : Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/imajinasi.v1i2.131

Abstract

Gandang Lasuang Dance is a traditional dance art that developed in batang tajongkek, precisely in Aua Sarumpun studio. In this dance, the properties are Lasuang, pestle, katidiang. This dance tells the story of how a farmer pounded rice using lasuang, where the rice to be pounded would become rice. In addition, this dance is also accompanied by music such as Talempong, Gandang dol, sleigh-giring. The purpose of this study is to analyze and describe the spread of Gandang Lasuang Dance and the factors causing the marginalization of Gandang Lasuang Dance. This research method uses qualitative research. The location of the research was conducted in Sanggar Aua Sarumpun, Batang Tajongkek Village, South Pariaman, Pariaman City. The results showed that the Study of the Spread and Marginalization of Gandang Lasuang Dance in Batang Tajongkek was quite well developed. Judging from its use, this art was previously only used as a medium for self-entertainment when pounding rice, but now it has been used as entertainment for the people of Batang Tajongkek Village, besides that the Gandang Lasung Dance is also performed in various art events such as PKK events, and bundo kanduang events and so on.
Tari Inai Bagi Status Sosial Masyarakat Pengguna dalam Kegiatan Malam Berinai di Kec.Nipah Panjang Shinta Jayanti; Indrayuda Indrayuda
Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi Vol. 1 No. 3 (2024): September : Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/imajinasi.v1i3.263

Abstract

The article is the result of research aimed at describing and analyzing the relationship between Henna Dance and the Social Status of the User Community and the Role of Inai Dance in Current Berinai Night Activities. This type of research is qualitative research with descriptive methods. The research instrument is the researcher himself and is assisted by supporting instruments such as writing equipment and a camera. The data in this research uses primary data and secondary data. Data was collected through literature study, observation, interviews and documentation. The steps for analyzing data are data collection, data reduction, data presentation and drawing conclusions. The results of the research show that the Henna Dance functions to protect the bride and groom from disturbances originating from humans and other creatures and as a blessing for the bride and groom who will live a new life. Apart from that, the Henna Dance or Berinai Night is called a night to introduce the groom to the entire extended family of the bride. However, currently the Inai Dance or Malam Berinai is rarely performed by the people of Nipah Panjang District, especially the Malay ethnic community in Nipah Panjang District. This is because the Henai Dance or Berinai Night event can only be performed by people whose economic class is relatively good. So currently it is very rare for researchers to see the Inai Dance or Malam Berinai culture in Nipah Panjang District.
Popularitas Sanggar Tari Svarga Art Dance sebagai Organisasi Seni Pertunjukan Tari di Kabupaten Bungo Nurhana Nurhana; Indrayuda Indrayuda
Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi Vol. 1 No. 3 (2024): September : Imajinasi : Jurnal Ilmu Pengetahuan, Seni, dan Teknologi
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/imajinasi.v1i3.307

Abstract

This study aims to reveal and describe the popularity of the Svarga Art Dance Studio as a dance performance art organization in Bungo Regency. This type of research is qualitative research using a descriptive method. The instruments of this research are interviews, observations and documentation. The steps of analyzing data are data reduction, data presentation and data verification as well as conclusions. The results of the study show that the Svarga Art Dance Studio is very popular in Bungo Regency, this is evidenced by the achievements, as well as the many new dance creations that are only owned by the Svarga Art Dance Studio and become an attraction so as to increase the love of the people of Bungo Regency for dance arts. With the form of democratic management, the performance of the Svarga Art Dance Studio between branches 1 and 2 and its cooperation with UMMUBA UKM of the University of Muhammadiyah Bungo went well and was growing. This, supported by the marketing of the Svarga Art Dance dance studio which uses the Social Media Marketing system through the official Instagram and Tiktok accounts, is also supported by the personal branding owned by the owner of the studio, with this the Svarga Art Dance dance studio can achieve its popularity. The Svarga Art Dance Studio until now has many routines in its performance which are often used by agencies, governments and the general public both inside and outside Bungo Regency.
The Role Of Experiential Marketing In The Development Of Minangkabau Cultural Tourist Destinations In Sijunjung Traditional Villages Evanita, Susi; Asri, Zul; Indrayuda, Indrayuda; Fahmi, Zul; Syofyan, Rita
Law and Economics Vol. 19 No. 1 (2025): February: Law and Economics
Publisher : Institute for Law and Economics Studies

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The tourism industry has now become an important icon to introduce a region to domestic and international tourists. The growth of tourism provides an opportunity to have a positive impact on local communities, leading to economic development and improved welfare, especially around tourist destinations. The Sijunjung Traditional Village tourist destination, which is a cultural landmark of West Sumatra, features unique customs, culture and village landscapes that resemble traditional Minangkabau villages. The village's traditional houses, such as the Rumah Gadang, demonstrate a fusion of cultural elements while promoting cultural harmony. This area is part of the Ranah Minang Silokek Geopark development project which aims to preserve, restore and enhance the tourism sector to improve the local economy. This service is conducted through the Nagari Binaan (PPNB) development program of Padang State University through development initiatives such as training programs and mentoring sessions. These efforts are made to empower local communities, managers, creative economic actors, and cooperative management and members through local wisdom and cultural values to create an attractive cultural experience for tourists, encourage economic growth, and preserve cultural heritage.
Appreciation and Characteristics of Offering Dance as Traditional Culture for Riau Society Sari, Maya Novita; Indrayuda, Indrayuda
LANGGAM: International Journal of Social Science Education, Art and Culture Vol 4 No 2 (2025): LANGGAM: International Journal of Social Science Education, Art and Culture (June
Publisher : Master Program of Social Science Education of Universitas Negeri Padang, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

The appreciation of dance is closely related to the unique characteristics of each dance. Through the appreciation of dance, individuals can understand and value the various aspects that shape the identity of a dance, such as movement, emotional expression, and the cultural and historical context behind it. By deepening their understanding of the characteristics of dance, one can better appreciate the beauty and complexity of each dance performance witnessed. This article will examine the forms of appreciation and characteristics of performance dance, which include the essential elements of dance composition such as dance movements, floor design, music or accompaniment, dramatic design, themes, make-up and costumes, venue, and dance equipment. These nine components will serve as the main reference in analysing the appreciation and characteristics of performance dance as a new traditional culture of the Riau community. The appreciation of dance art towards performance dance as a manifestation of new traditional dance becomes a window that opens new horizons in understanding and appreciating the beauty and complexity of performing arts.
Silat Tempur League: The Analysis of Athletes Performance in 2019 Competitions Aziz, Nur Azizah Abdul; Shapie, Muhamad Nizam Mohamad; Indrayuda, Indrayuda; Al-Syurgawi, Dahlia; Rahim, Mohamad Rahizam Abdul; Abdullah, Nagoor Meeara; Parnabas, Vincent; Nawai, Nasru Syazwan; Samsudin, Hazim; Kassim, Rezian-na Muhammed; Nor, Mohad Anizu Mohd
International Martial Arts and Culture Journal Vol. 1 No. 1 (2023): International Martial Arts and Culture Journal
Publisher : Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/imacj5019

Abstract

Background and aim. There are two types of sparring in silat: Silat olahraga and Silat tempur. Silat tempur is a combative sport focused on children, particularly beginners aged 7 to 13. The competition was introduced to prepare young athletes for sparring in Silat olahraga and to improve combative techniques among young silat exponents. The arena, which resembles a fencing platform, facilitates the execution of silat techniques during competition. This study aims to describe the development and implementation of Silat tempur as a preparatory competition for young athletes.Methods.  This study employed a secondary data analysis approach using data obtained from the Pertubuhan Seni Gayung Fatani Malaysia website and official competition records. The data focused on the 2019 Silat tempur league, which consisted of four competition series.Results The findings show that the Silat tempur competition has developed into a structured league involving approximately 200 silat exponents from ten active silat clubs in Malaysia. It represents the first silat league established globally and demonstrates a systematic approach to developing young athletes’ combat skills.Conclusions.        Silat tempur serves as an effective platform for enhancing fundamental combat skills and preparing young exponents for higher-level competitions in Silat olahraga. Its structured format contributes to athlete development and promotes the preservation and global recognition of Malay martial arts
Gerak Tari Lemea: Kajian Bentuk dan Gaya Amellia, Marisa; Indrayuda, Indrayuda
Jurnal Pendidikan Tambusai Vol. 9 No. 1 (2025)
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai, Riau, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/jptam.v9i1.27232

Abstract

Penelitian ini bertujuan untuk mendeskripsikan Gerak Tari Lemea : Kajian Bentuk dan Gaya di Sanggar Dulang Mas Kabupaten Rejang Lebong Provinsi Bengkulu. Jenis penelitian yang dipakai adalah penelitian kualitatif dengan metode deskriptif. Instrumen penelitian ini adalah peneliti sendiri dan dibantu dengan instrumen pendukung seperti alat tulis dan kamera. Data dalam penelitian ini menggunakan data primer dan data sekunder. Teknik pengumpulan data dilakukan dengan cara studi pustaka, observasi, wawancara dan dokumentasi. Langkah-langkah menganalisis data adalah pengumpulan data, reduksi data, penyajian data dan penarikan kesimpulan. Hasil penelitian menunjukkan bahwa tari Lemea merupakan tari kreasi baru yang ada di Sanggar Dulang Mas. Tari Lemea memiliki 5 ragam gerak yang dapat ditinjau dari aspek bentuk dan gaya. Dari aspek bentuk dalam gerak tari Lemea memiliki unsur ragam gerak, struktur gerak, dan tata hubungan hirarkis gramatikal. Ragam gerak yang terdapat dalam tari ini terdiri dari Gerak Menangguk Ikan, Gerak Memasukkan Ikan ke dalam Kerotong, Gerak Mengambil Lemea, Gerak Mencuci Lemea, dan Gerak Memotong Lemea. Dalam penyajiannya urutan gerak dalam tari Lemea adalah sebagai berikut : Gerak Awal, Gerak Maju , Gerak Menangguk Ikan, Gerak Duduk, Gerak Memasukan Ikan ke dalam Kerotong, Gerak Berdiri, Gerak Transisi Keluar, Gerak masuk , Gerak Pose, Gerak Pengisi 1, Gerak Transisi keluar, Gerak Masuk, Gerak Transisi Membentuk Angka 8, Gerak Mengambil Lemea, Gerak Duduk, Gerak Mencuci Lemea, Gerak Penari 1, Gerak Masuk Penari 2, Gerak Duduk Berpasangan, Gerak Memotong Lemea, Gerak Berdiri, dan Gerak Transisi Keluar. Tata hubungan hirarkis gramatikal yang terdapat dalam tari ini adalah 10 motif, 6 frase, 5 kalimat, dan 1 gugus. Dari aspek gaya yaitu teknik tari, ekspresi, ruang, waktu, dan tenaga. Teknik tari dilihat dari unsur kaki, tangan, kepala, dan badan. Aspek ruang dalam gerak tari Lemea memiliki unsur garis, volume, arah hadap, dan fokus pandang. Garis yang terdapat dalam tari ini dominan garis lurus, horizontal, dan bersudut. Volume yang terdapat dalam tari ini dominan besar, sedang, dan kecil. Arah hadap yang terdapat pada gerak tari Lemea ini dominan depan, bawah, samping kanan dan kiri. Level yang terdapat dalam gerak tari Lemea dominan besar, sedang dan kecil. Fokus Pandang dalam gerak tari ini dominan ke arah tangan, properti yang dipegang, samping kanan dan kiri. Dari aspek waktu yaitu tempo dan ritme yang dominan sedang dan cepat. Dari aspek tenaga, intensitas pada gerak tari ini dominan sedang dan kuat, tekanan pada gerak tari ini dominan kuat dan kualitas gerak tari Lemea dominan sedang dan tegas.
Gender Aesthetics and Symbolic Tension in Syofyani’s Pasambahan Dance: Negotiating Honor, Hospitality, and Cultural Identity Virginia Aulia, Tiara; Indrayuda, Indrayuda
Gondang: Jurnal Seni dan Budaya Vol. 9 No. 1 (2025): GONDANG: JURNAL SENI DAN BUDAYA, JUNE 2025
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v9i1.64961

Abstract

This study critically examines the movement techniques and body postures in Syofyani’s Pasambahan Dance by exploring how the values of honor and hospitality are constructed, performed, and negotiated within the Minangkabau cultural context. Rather than assuming harmony between movement and cultural values as fixed, this study questions how gender construction and bodily symbolism in dance operate within a matrilineal society that paradoxically privileges masculine roles in public performance spaces. This research employs a descriptive qualitative approach with data collected through participant observation, in-depth interviews, and visual documentation at the Syofyani Dance Studio in Padang, West Sumatra. The researcher was present not only as an external observer but also as a limited participant in rehearsals and artistic discussions, in order to understand the meaning-making process through the body and movement.Findings show that male dancers' movement techniques, derived from pencak silat, exhibit protective, dominant, and assertive traits, while female dancers express gentleness and deference through movements inspired by silat bunga. However, a critical reading reveals that this gender division does not necessarily reflect Minangkabau gender reality but rather represents a symbolic negotiation that evolves with changing social dynamics and modern aesthetic expectations. Furthermore, symbols such as the carano and betel leaves are not always received with a singular meaning. Younger dancers, especially those living in urban areas, interpret these symbols as formalities or even folklorization, rather than as expressions of spirituality. When the dance is performed at tourism events or modern receptions, its meaning shifts from a ritual of respect to a visual attraction. This study affirms that Pasambahan Dance is not merely an aesthetic medium but also a discursive arena where values, identities, and ideologies are negotiated. By combining dance analysis and performance ethnography, this research contributes to the discourse on cultural preservation, performative critique, and arts education that is both contextual and reflective.
Nilai Kearifan Lokal dalam Naskah Siti Beram pada Pertunjukan Randai di Produksi Sanggar Galombang Maimbau Aksara, Anggi; Indrayuda, Indrayuda
Jurnal Pendidikan Tambusai Vol. 9 No. 2 (2025): Agustus
Publisher : LPPM Universitas Pahlawan Tuanku Tambusai, Riau, Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31004/jptam.v9i2.30889

Abstract

Penelitian ini bertujuan untuk untuk mengungkapkan Nilai Kearifan Lokal Dalam Naskah Siti Beram pada pertunjukan randai di produksi Sanggar Galombang Maimbau. Jenis penelitian ini adalah penelitian kualitatif dengan metode analisis isi. Instrumen penelitian ini adalah peneliti sendiri sebagai intrumen kunci, dan dibantu intrumen lain seperti, kamera, peralatan audio visual, alat tulis, dan handphone. Data dikumpulkan melalui studi pustaka, observasi, wawancara dan dokumentasi. Langkah-langkah menganalisis data adalah pengumpulan data, reduksi data, penyajian data dan verifikasi data. Hasil penelitian menunjukkan bahwa nilai Kearifan Lokal dalam naskah Siti Beram terdiri dari adat istiadat, norma budaya, bahasa, kepercayaan dan kebiasaan sehari – hari. Nilai Adat Istiadat naskah Siti Beram mencerminkan pelaksanaan adat istiadat Minangkabau, khususnya dalam konteks peran perempuan dan sistem matrilineal. Nilai norma dan budaya dalam naskah ini mencerminkan nilai–nilai budaya yang dijunjung tinggi dalam masyarakat kambang utara, seperti norma sopan santun, rasa hormat terhadap orang tua, dan penghargaan terhadap tradisi. Nilai bahasa yang digunakan dalam naskah Siti Beram adakah bahasa Minangkabau dengan dialek khas Pesisir Selatan. Nilai kepercayaan masyarakat Kambang Utara terhadap agama dan spritualitas tercermin dalam naskah Siti Beram. Nilai Kebiasaan Sehari – hari masyarakat Kambang Utara yang tercermin dalam naskah ini mencakup nilai kebersamaan, saling menghormati, dan kepedulian terhadap sesama. Pertunjukan randai yang diproduksi Sanggar Galombang Maimbau berfungsi sebagai media edukatif untuk menanamkan dan melestarikan nialai-nilai tersebut kepada masyarakat, terutama generasi muda. Nilai-nilai dalam naskah Siti Beram tidak diwariskan secara lisan, tetapi juga divisualisaikan melalui seni pertunjukan yang kominikatif dan menarik.
Kritik Sosial Dalam Naskah Drama Dor Karya Putu Wijaya Putri Aulia Rahmawati; Indrayuda
Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain Vol. 1 No. 4 (2024): Juli : Abstrak : Jurnal Kajian Ilmu seni, Media dan Desain
Publisher : Asosiasi Seni Desain dan Komunikasi Visual Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.62383/abstrak.v1i4.185

Abstract

This study aims to find out how social criticism is in the script of the drama DOR by Putu Wilayah. The object used in this study is a series of events in the script of the drama DOR by Putu Wijaya which contains social criticism. This manuscript was published by Balai Pustaka in 1985. This research is a qualitative research with a descriptive method. The data collection technique is to read and understand the script of the drama DOR by Putu Wijaya, mark the speeches of the characters and narrators in the script of the drama DOR by Putu Wijaya, then record the findings on the record sheet, and inventory the characters contained in the script of the drama DOR by Putu Wijaya in a table format. The data analysis technique is to classify data on social criticism contained in the script of the drama DOR by Putu Wijaya through the speech of the characters, the actions of the characters and the narrator's exposure, interpret the data on social criticism in the script of the drama DOR by Putu Wijaya and draw conclusions and report the results of data analysis. Based on the results of data analysis, it was found that the forms of social criticism in the DOR drama script by Putu Wijaya include, among others, (1) Social criticism of norm violations, (2) Social criticism of family disorganization, (3) Social criticism of crime handling, (4) Social criticism of poverty.
Co-Authors Abdullah, Nagoor Meeara Afiatri Gelurena Afifah Asriati Agustina Agustina Agustina Ahmad Damhuri Aksara, Anggi Al-Syurgawi, Dahlia Alfhina Wahyu Rahmadaniah Amellia, Marisa Angge Pratiwi Vitri Anugrah Prima Insani Ardipal Ardipal Ariep Bijaksana Astutu, Fuji Aysah Nur Rahma Ayu Nara Sati Aziz, Nur Azizah Abdul Bunga Lovesky Bunga Maharani Bunga Naselia Chelina Dewi Dara Ardilla Darmawati Darmawati Darmawati Darmawati Dede Putri Perdani Della Natasia Gunita Piska Dendi Chairi Desfiarni Desfiarni Dewi Fiolinda Dibba Gazwami Diye Chania Dwi Witri Anggraini Efriyanti, Dian Rahma Eke Febrianti Elida elida elida Ella Miftah Aulia Endang Nuryani Esy Maestro Eva Pauziah Fadhila Saktia Feby Try Rahmanda Fingki Novi Arsita Fitrah Hayati Fitri, Levina Frisilia Yulisianti Fuby Candani Fuji Astuti Fuji Astuti Fuji Astuti Geby Citra Arifin Gitmiwati Gitmiwati Gusnia hadi, Harisnal Hafizatul Ismi Hana Shilfia Iraqi Handayani, Bella Fitri Hasanuddin WS Helfira Helfira Hendri Yusuf Herlinda Mansyur Hestilia, Wina Hidayatunnisa Hidayatunnisa Husna Febri Andika Putri I Made Sukartha Idol Fatria Ildiea Fitri Indah Novita Sari Indri Mayangsari Intan Milanda Intan Sani Ashari Junita Fitri Kassim, Rezian-na Muhammed Lanifa, Rani Lidya Indrawati Liza Azoni Lola Murnianti Maidilla Siska Putri Mardiana - Marzam Marzam Marzam Marzam Maya Endah Rahayu Meisa Adila Meizul Ofriananda Mia Fahmiati Miftahul Rizka Mohd. Effindi Samsudin Muhammad Afif Nashiwa Natania Salsabilla Nawai, Nasru Syazwan Nela Majesti Nerosti Nia Putri Jelita Nia Rahmadani Niken Ayu Astuti Nindi Aulia Safira Ningsih, Lisa Wahyu Nor, Mohad Anizu Mohd Novelis, Puput Nurhana Nurhana Nurul Annisa Syafwan Nurul Intan Pratiwi Oktania, Rahma Pebrina Sapitri Poppy Lisafri Yolanda Prihan Pangemba Puti Aryanti Soleha Putri Amriana Putri Aulia Rahmawati Putri Novrialni Putri Yunengsih Putri, Archyva Indah Putri, Clara Putri, Resha Gustina Quinta Dianda Voneline Radisma Suziyanti Rahim, Mohamad Rahizam Abdul Rahmadani, Fauziah Rahmadani, Sherina Pasma Rahmat Adriyanto Rahmat Hidayat Rahmi Ul Fadhilah Raju Gunawan Rama Dona E Rana Arisma Valeves Rani, Destia Ranti Lestari Ratih Riau Khasanah Raudhatul Fadillah Regia Amelia Putri Resha Gustina Putri Reza Trinanda Rini Suardi Rita Syofyan Rizka Annisa Rizka Janarsi Rizki Kurniaty Safhira, Elsa Samsuddin, Mohd Effindi Samsudin, Hazim Sandika Sadema, Ayu Sari, Maya Novita Sari, Nurima Sevi Sovia Shamsuddin, Mohd Effindi Bin Shapie, Muhamad Nizam Mohamad Shinta Jayanti Shintia, Newahyu Jamalika Silvani, Shindy Siti Aisyah Jasmin SITI KHODIJAH Sonia, Uthi Sri Muryenti Suci Okta Rahmadani Susi Evanita Susi Evanita Susmiarti Syafitri, Mahdalena Syafriandi Syafriandi Syahrel Syahrel Syofyan, Rita Tiara Virginia Aulia Tulus Handra Kadir Tuttriana Tuttriana Ukie Winaranti Vincent Parnabas Virginia Aulia, Tiara Viska Nanggita Vuja Syafrianti Alhidayah Wahyuni, Irfi Sri Widya Novitri Wilya Aryana Putri Wina Hestilia Wina Hestilia Windi Novrianti Yeni Yeni Yenni Rahmah Yoni Sesilia Yos Sudarman Yosi Dwi Zulniati Yuliasma Yuliasma Yusman, Ahmad Fauzan Zora Iriani Zul Asri Zul Fahmi